Theater Review: Sweet Charity

by John Garcia of of John Garcia's The Column

Like its heroine Charity Hope Valentine, the 2005 Broadway revival of Sweet Charity had an emotional, tipsy turvy, rollercoaster of a ride on its journey to Broadway.

Problems occurred right from the get go, starting with casting. Fran & Barry Weissler (the powerful producing husband/wife duo) searched in vain for a star to headline their revival. They courted such female stars as Marisa Tomei, Jenna Elfman, and Jane Krakowski to headline their vehicle, but all said no. Finally it would be blonde bombshell Christina Applegate who would sign on the dotted line to portray the taxi dancer with a heart of gold.

But then came the out-of-town tryout. The show was having major problems all around, from direction to casting. They replaced one of the actresses who portrayed one of Charity's best friends, and they kept retooling the book and reworking the musical numbers. Alas then came the performance in which Applegate injured her ankle on the lamppost during the opening number. Now the Weisslers had no star to headline their show.

In came Broadway veteran & Tony nominee Charlotte d'Amboise to the rescue! She completed the out-of-town tryout, and everyone was rooting for this Broadway trooper to headline the show, only it was not to be, as Applegate got well enough to open the show. The revival was met with uneven, lackluster reviews and a sagging box office. Applegate (and the show) would receive Tony nominations, but the musical would shutter after only 275 performances.

Although when Applegate's contract was close to expired, rumors were whispering all around the Rialto that the Weisslers were courting Pop tart (pre-wacko phase) Britney Spears to take over the role. She and her greasy ex-husband Kevin Federline were photographed at the Al Hirschfeld Theater after taking in a couple of the performances. Thankfully, this never blossomed into reality.

But then came the resurrection of the national tour starring writer/director John Hughes muse, redhead Molly Ringwald. She of course is the star of the Hughes trilogy of teenage angst films: Sixteen Candles, Breakfast Club, and Pretty in Pink. But while on the road Ringwald suddenly left the production. There has never been any official press release or "official" reason given why she left the tour.

For Ringwald's replacement, in came TV reality star Paige Davis to headline the tour. Ms. Davis is known primarily as the spunky, energetic hostess of TLC's Emmy-nominated series, Trading Spaces. But her background reveals a strong theatrical resume, such as portraying "Roxie" in the Broadway revival of CHICAGO, as well as being part of Beauty and the Beast.

Ms. Davis gives a marvelous performance as "Charity", a character based on the classic Fellini film, "Nights of Cabiria", which was about a hooker in Rome who finds love in all the wrong places. However the musical cleans up her profession and makes her a dance hall hostess at the Fan-dango club in New York.

Davis is so endearing and oozes buttery warmth that you cannot help but fall in love with her. The perky thespian gives just the right amount of sexy sass, but never overplays the sexual overtones. A sweet (if somewhat limited) soprano voice does fine with the various ballads and comic patter songs that the role carries. Her dance technique is clean and elegant. The girl has some gorgeous long stems that allow her to make her extensions and leaps across the stage look like a lithe gazelle.

However, it is her acting technique and detail to the book scenes where Davis earns her gold stars of accomplishment. Her comic timing, pace, and delivery hits the mark each time she aims for the laughs. Her facial expressions wonderfully seal in the humor and comedy within her characterization.

It is her second act dramatic arc that is absolutely engrossing, heartbreaking, and intense to watch unfold on stage. There are no false tears here. She reveals in raw, naked honesty the emotional pain of once again losing in the game of love. You could hear a pin drop in the elephantine Music Hall as her sobs of loneliness and heartache echo in the theater. Even as she tried to sing those final lyrics, you could hear her voice break. Ms. Davis's performance is the very reason why you should immediately put down your credit card on some tickets.

As "Oscar Lindquist", Guy Adkins provides the loudest laughs and one of the most original, fresh, and vibrant performances I've seen at the Music hall in some time. His entire work in the "elevator scene" is one of the funniest book scenes I have ever seen on any stage. Like a caged monkey who just drank a case of Red Bull, the actor devours both the scenery and the book like a deranged nutcase. His second act work is just as riveting. Whether being soothing and romantic to Charity, or to sadly break up with her, he is always there, right in the moment. Adkins is magnificent as the tax accountant who falls for Charity.

Providing some spiffy, funny, and terrific work in supporting roles include: Bridget Berger as "Nickie" (The Chita Rivera role in the film version); Kisha Howard as "Helene" -- both are Charity's best friends; Steve Wilson as the suave Italian film star "Vittorio Vidal"; and Richard Ruiz as the owner of the Fan-dango, "Herman".

The production elements are full of color and pizzazz as well. One of the best elements in Scott Pask's scenic design is that instead of black legs to separate and change scenes, he has designed gold circles that are all over yards of what looks like shimmering purple fabric. They actually give the scenes an extra kick of energy! His scenic design is more of set pieces, than full 3-D sets. Such as long, sexy couches, eye popping backdrops, and even a Farris wheel. William Ivey Long's costumes are ripped from the pages of 60's mod fashions-bold colors and psychedelic prints. David Grill's color scheme for his lighting design is overflowing in vivid colors & gobos that compliment both set and costume.

The major problem I had with this production is alas Wayne Cilento's choreography. It just never meshed with the amazing, fresh, new dance arrangements and orchestrations that were flowing from the orchestra pit.

Sweet Charity is known for its magnificent Bob Fosse choreography. He tailored this show as a special vehicle for his wife and muse, Gwen Verdon. Thank god we have the film version that captured his brilliance in dance creation. While the film is uneven and at times dull, it is Fosse's glorious magic in the choreographed numbers that save the film.

When Fosse (a dance musical based on his work & career) arrived at the Broadhurst Theater on Broadway, I saw the musical two months after it opened. Watching again "Rich Man's Frug" and "Big Spender" in the original choreography was sheer bliss for a Fosse addict like me to soak in every single dance step.

Why I do understand Cilento wanting to put his own personal stamp on the choreography, it just doesn't work here. On stage it looks slow and not eye-popping whatsoever. He does incorporate tiny bits of Fosse here and there, but not enough. I thought his choreography for Wicked was horrible, and for this production it is "adequate" at best.

During "Rich Man's Frug" and "I'm A Brass Band" there are some heart-pounding, electrifying percussion exploding from the pit, but on stage the choreography looks lumbersome, dull, and sluggish. The movements on stage never meshed with the dance arrangements.

Another great number is "There's Gotta Be Something Better Than This", and yet again the choreography looks like it is stuck in neutral. You so badly want the trio of girls to explode and dance all over the stage like they did in the movie-but they never do. Cilento's choreography is just not up to par. I sorely wished they had re-created Fosse's vision of dance for the tour.

While the choreography is a let down in the production, everything else in the musical is just right on the money! From the performances, to that grand Cy Coleman score and the eye-popping design elements, Sweet Charity is that rare musical that still shows lots of oomph and life since its original debut!

GRADE: B+

Sweet Charity plays through August 5th at the Music Hall at Fair Park. Tickets on sale at The Box Office at 542 Preston Royal Shopping Center, online, or charge-by-phone 214-631-ARTS.

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